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Beautiful Hero's Journey Mythology Swimsuit Bikini Model Goddesses! Pretty, pretty, girls!
Check out my greatest hits compilation, and let me know what you think:
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As the Great Mick Jagger satted, "Pretty, pretty, pretty, pretty, girl
Pretty, pretty
Such a pretty, pretty, pretty girl." -Beast of Burden Sexy, hot, and cute too!
Epic Goddess Straight Out of Hero's Journey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's journey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Journey Mythology. I wouldn't be saying it if it hadn't happened to me.
New 500px!
500px.com/herosjourneymythology
New instagram! instagram.com/45surf
Pretty Swimsuit Bikini Model Goddess! :)
Nikon D300 Photos of Beautfiul Sexy Hot Brunette!
She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
ALL THE BEST on your Epic Hero's Journey from Johnny Ranger McCoy!
Modeling the new "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
With the Johnny Ranger McCoy Celtic Cross on the back of the bikini! All the best on your epic hero's journey from JR MCCOY!
Two Malibu Surf Girl Goddesses on Surfrider's Beach beside the Malibu Pier! Pretty blond & brunette!
Sensors get dirty, it is impossible to change lens and keep them clean...
Mine has to be cleaned two times a year or more.
When you choose smaller apertures, the dirt spots show shamelessly. In one of my last photos, www.flickr.com/photos/henrique_silva/6600173785/, the aperture was f/36 and so every little tiny bit of dirt was showing, I spent a little time in Lightroom cleaning them, but there are still some in the picture... It was urgent to clean the 40D's sensor
Again I went trough this delicate process, I use Sensor Scope from Delkin Devices, it works well, it uses a combination of vacuum cleaner and moistened sensor wands to get the job done. Here is a before / after mosaic, it is not completly clean, but in fact there is a compromise between having the sensor damaged or have one or two dust spots...
If you want to know more about the process, I will be happy to answer!
Check your sensor for dust!
a - Create a new image in Photoshop or any other application and fill it with white
b - Set your camera to Aperture Priority, ISO100, and aperture to it's minimum f/22 - f/45
c - Set lens focus to Manual, and focus to closest possible
d - Shoot in raw or if in jpeg, turn off special image processing functions
e - Zoom in until the photoshop image fills your camera focusing screen
f - Shoot camera facing the white image on your monitor, and during this exposure, move your camera back and fourth being careful to not to point the lens outside of your white image. You can also zoom in in the image...
g - Process your image, adjust contrast, brightness, clarity, whatever, so that you get a clear view of the dirt spots!
h - Now you can go through the cleaning process - remember that what shows on the bottom of the image will be towards the top of the camera sensor...
i - Repeat the process from a to g and if you are happy with the result, then you are done; otherwise, repeat again... this time I had to make three swab cleanings. It is preferable to clean gently several times than applying to much force.
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...::::...
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Technical Info:
Camera: Canon EOS 40D
Lens: EF-S15-85mm f/3.5-5.6 IS USM
Focal Length: 40 mm
Sensitivity: ISO 100
Exposure: 0,3 sec at f/22
Exposure bias: 0 EV
Exposure Program: Aperture priority
Metering Mode: Pattern
Flash: no flash
GPS
Coordinates:
Altitude:
©Henrique Silva, all rights reserved - no reproduction without prior permission
Hatte ich folgendes nicht schon an anderer Stelle geschrieben?
1. Beim Filmtransport verschwindet der belichtete Film hinter einer Klappe, so ist er bei versehentlichem Öffnen geschützt.
2. Man spult den Film mit dem Schnellschalthebel zurück, nachdem man vorher einen Umschaltknopf betätigt hat!
3. Die Auslösung über den roten Sensor-Punkt ist wirklich sehr sanft und erschütterungsfrei.
Richtig! Diese drei exklusiven Merkmale der Selectronic Sensor findet man später wieder in den genial designten Optima-sensor-electronic-Modellen.
Der äußerliche Unterschied fällt natürlich sofort ins Auge. Die Selectronic sensor hatte die recht konventionelle, für die damalige Zeit aber moderne sachliche Form der Optima 500 fortgesetzt. Ein großer Erfolg war die die Selectronic nicht, aber das Innenleben hatte sich so bewährt, dass es mit kleinen Abwandlungen für die Optima Sensor electronic übernommen wurde.
Während aber die neuen Optimas einen voll programmierten Paratronic-Verschluss besaßen (man hatte keinen Einfluss auf Belichtungszeit und Blende), war die Selectronic sensor ein Zeitautomat: Die Blende wird vorgewählt, die Zeit dazu wird von der Kamera errechnet und eingestellt. Beide Werte sieht man im Sucher. Dieses System gefällt mir viel besser.
Es gab noch die Selectronic "S", die mit dem Vierlinser Solinar statt mit dem Dreilinser Apotar ausgerüstet war und außerdem einen Messsucher besaß.
Die Selectronic kostete 1971 349,- DM, die Selectronic S 449,- DM.
Agfa Optima 200 Sensor (second version).
German viewfinder camera produced c.1969.
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Undo just these 2 Screws (see red arrows) to remove the Meter Unit.
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WARNING :
This image is intended as a reference for the more experienced camera service man. If you have no experience in camera repair please do yourself a favor and send your camera to a professional service shop. It would be a pity to lose a vintage camera in a failed repair attempt !
I have had some dust stuck on my sensor since getting my A7III and sadly the rocket blower couldn't remove it. I usually pay to get my sensor cleaned but decided to give cleaning it myself a try and I'm glad I did.
Los 13699 fotogramas restantes se pueden ver acá:
Y de yapa, un bellísimo collage inspirado en esos fotogramas:
Agfa Paratic Shutter as used on the Optima 200 Sensor (second version). Produced c.1969.
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3 Brass screws (see red arrow) hold the Rear Plastic Collar to the shutter.
After these are removed it is possible to lift the Collar slightly and take the Flash Sync Wires out of the harness clamps.
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WARNING :
This image is intended as a reference for the more experienced camera service man. If you have no experience in camera repair please do yourself a favor and send your camera to a professional service shop. It would be a pity to lose a vintage camera in a failed repair attempt !
St. John, Washington. Population 526. Street scene on Sunday morning, 9:30 a.m. This is a state highway I was standing in the middle of. I stood there for a few minutes to compose this shot, took the picture, walked back to the sidewalk, decided to cross back over the street and all this without one car coming through town.
My husbands sister and her husband own a house in this small town. We stayed here for 2 nights and let me say that it is dark and quiet in the middle of the night! We got up Sunday morning and walked to the local cafe, which would be just behind and to the left of this shot. 16 ounce cup of coffee and 16 ounce hot chocolate to go = $2. Now there is a deal that can't be beat!
While we were at the cafe, we began to visit with a couple who were having breakfast. They are farmers, living out of town a bit. It was fun to talk to them and hear their life in this small town. Their kids have grown and moved away to the west side of the state. This is not a prosperous area, in terms of people having lots of money, but I'd have to say that it is indeed prosperous in it's quality of people. Everyone we encountered, all 10 of them, smiled and waved at us. Made for a nice Sunday morning.
M240 / 50 Summilux
Thank you for visiting and viewing.
Jim
No Usage Authorized Without Prior Written Permission.
©2015 Jim Servies Photography
All Rights Reserved.
"Magic Wire" is so called because of detecting proximity to antenna.
THE MAGIC WIRE
As shown in the diagram, the input tube is a type 6R7 duo-diode triode. The triode section forms the oscillator, in conjunction with the coil L1 which is center-tapped to the cathode. When the triode section is oscillating, the r.f. voltage developed from cathode to ground is impressed on the diode section, causing current to flow through R2 and making the diode plates negative with respect to ground. The control grid of the 25L6 power tube is connected to the diode plates of the 6R7 and consequently a negative bias is placed on the grid which reduces its plate current to a very low value. As soon as the triode ceases to oscillate, there is no longer any r.f. voltage applied to the diodes, the voltage drops and the 25L6 draws high plate current, causing the relay to operate.
It will be noted that no rectifier tube or filler circuit is required in this design, yet the instrument functions on either a.c. or d.c. On a.c., the 6R7 oscillations and the 25L6 draws plate current only on the positive half-cycles. This principle effects a considerable saving in construction cost and in the size of the instrument.
After the parts required have been obtained, the first step in building the unit is to make the chassis, which consists simply of a piece of 16-gauge aluminum or steel bent and drilled in accordance with the plan shown. The front panel, which is included with the standard 6 by 6 cabinet, is drilled and a hole and grommet are placed in the rear panel. The oscillator coil is made by winding 100 turns of No.28 d.c.c. wire on a one-inch bakelite tube 3-1/4 inches long. A tap is brought out at the center of the winding. When the winding has been completed, the entire coil is dipped in a hot half-and-half mixture of beeswax and paraffin to keep the winding in place and exclude moisture. The sensitivity of the outfit is largely dependent upon the efficiency of the coil, so it should be carefully made. C1 is mounted on a small piece of 1/8-inch bakelite, because it must be insulated from the panel.
Wire the chassis first, starting with the heater circuits. Do not connect in the power cord until all wiring has been completed. The shield of the 25L6 is connected to its cathode, the shield of the 6E7 to the heater terminal which goes directly to the line. When all the main wiring has been completed, bring the power cord through the rear panel hole, and solder the three terminals to the terminal strip. The antenna wire is brought in through a rubber-grommeted hole in the top of the cabinet and connected to the stator or plate terminal of C1. A knot in the wire will relieve any strain on this connection. Stranded wire is preferred for the antenna.
The capacitances of C1 and C2 are largely dependent upon the length of antenna wire desired. If only 4 or 5 feet are required, C2 may be omitted. On the other hand, if the wire exceeds 15 feet, C2 will have to be larger than the value given. If the capacitance of C1 were made large (say 150 mmf. or more), C2 could of course be omitted but then the adjustment would become too critical.
The relay employed is a 3,000-ohm plug-in type of standard manufacture. It is a double-pole model and will handle a non-inductive load of 100 watts. It is somewhat more sensitive than is required and any other good relay of 1,000 ohms or more resistance should be suitable. The capacitor, C4, is shunted across the relay coil to prevent chattering. It may be advisable, in some cases, to put a 0.1 mf. paper capacitor across the relay contacts to stop sparking on heavy loads. It is better practice, however, to use a separate power relay when operating any but light loads.
In operation, the antenna wire is strung out well away from grounded metal objects and a 110-volt lamp is plugged into the outlet on the panel. When the tubes have heated, the lamp should light when the antenna wire is touched. If it lights without touching the wire, C2 should be screwed down until the lamp goes out. These adjustments should be made with C1 about one-half mashed. The panel may then screwed in on the cabinet and final adjustment made. This is done by gradually adjusting the vernier knob of the dial until the light remains lit when adjusting but goes out when the hand is removed from the dial. This may be carried to a point where the light will flash as soon as one approaches within 3 feet of the wire or instrument. It is better not to aim for such sensitivity, though, since it will vary somewhat with line voltage. A good, practical and stable point is about six to fifteen minutes or so for the instrument to acquire a stable point of operation owing to its sensitivity.
PARTS REQUIRED
C1 - Midget variable capacitor, 60 mmf. (see text)
C2 - Trimmer capacitor, 35 mmf. or more (see text)
C3 - Tubular paper capacitor, 0.05 mf. or more, 200 v.
C4 - Electrolytic capacitor, 10 mf., 100 V.
R1 - Carbon resistor, 5 meg, 1 watt
R2 - Carbon resistor, 1 meg., 1 watt
R4 - Wire-wound resistor, 5,000 ohms, 10 watts
R5 - Wire-wound resistor, 10,000 ohms, 10 watts
1 -- Steel cabinet 6x6x6 inches, front & back panels removable
1 -- Piece 16-gauge aluminum, for chassis 5-1/2 x 7-3/4 inches
1 -- Piece bakelite tubing, 1 inch diameter., 3-1/2 inches long
1 -- Piece bakelite, 1'1/2 x 1-1/2, 1/8 inch thick for C1
2 -- Octal wafer sockets, 1-1/2 inches center for mounting holes
1 -- 5-prong wafer socket, 1-1/2 inches center for mounting holes
1 -- Relay, Utah type RAC-110, 3,000 ohm
1 -- 6R7 metal tube
1 -- 25L6 metal tube
1 -- Kurz-Kasch vernier dial, small
1 -- Resistor line cord, 280 ohms (R3)
1 -- Single outlet receptacle
Miscellaneous screws, nuts, mounting bracket, and grommets.
- James P Hughes
After great demand and lots of encouragement from friend photographers, the result of this very work intensive project is finally available. Please check your respective amazon online store.
The paperback version is recommended over the kindle version
Content:
This book is unique, in that it focuses on greatly improving photography skills, both for amateurs and professionals, by understanding the image sensor & camera operation and the impact of parameters changes on image quality.
Are you one of those photographers who continuously fights excessive image noise when shooting birds-in-flight, a photographer who would like to understand why certain camera and lens settings do a great job and others don’t, or, are you a photographer who fails in creating top quality images, independent of the circumstances? Then stop looking, because you have found your comprehensively written expert guide, created by image sensor specialist George F. Vittman, PhD, who has worked with world-renowned specialists in the field since the mid-1980ies, and who is also an outstanding and award-winning photographer.
Without going into too much technical detail, this book introduces the basic image sensor operation, and it devotes a large fraction to the study of visible image noise. What is noise caused by, what is its dependence on the 3 camera exposure parameters, shutter time, lens aperture and ISO-value, how does post-processing affect noise, and most importantly, how can the image noise be minimized under different circumstances. Besides image noise, this book also reveals little known secrets regarding auto-focus, camera operation and optics, and it gives image sensor based recommendations for a camera choice in the different fields of photography.
Olympus E-500 ( KODAK CCD sensor ) + Olympus Zuiko Digital ED 50mm f/2.0 Macro
OLYMPUS DIGITAL CAMERA
Manufactured by Agfa Kamerawerk AG, Munich, West Germany
Model: c.1970, (all models of Silette produced between 1953-1974)
Agfa logo on the front of the camera: black relief
35 mm film Viewfinder camera
Lens:Agfa Color - Agnar 45mm f/2.8
Aperture: f/2.8 -f /22 , stepless allowing for easy adjustment with the TTL meter
setting: ring and scale on the back of the lens
Focusing: front ring manual focus, w/ DOF scale
Focus range: 1-5m +inf.
Shutter: Parator speeds: 30, 60, 125, 300 +B, extremely quiet
setting : ring and scale on the lens
Shutter release: Red "Sensor" shutter release button,
very smooth and sensitive so no camera shake
Cable release socket: on the back of the top plate
Exposure meter: TTL (coupled to the lens) Selenium Optima 200 Sensor (working !.)
Exposure setting: via 1- the small needle window on the top plate, 2- the indicator in the viewfinder, set the speed and turn the aperture ring
Film speed range: ASA 25-400 (DIN 15-27), setting knob and scales on the lens
View finder: bright frame finder,
Cocking lever: also winds the film, short stroke, on the left of the bottom plate
Frame counter: advance type, manual reset by a button behind the counter window, on the bottom plate
Re-wind release and re-winding: the black lever marked R and arrow on the right lower side of the lens releases and engages the reversing gear
thus the cocking and winding lever is the re-wind lever now
Flash PC socket: none, you can use a flash sync. cord with an Agfa flash adapter
Hot-shoe: flash sync. bulbs 1/30, electronic all speeds
Self-timer: none
Back cover: hinged, opens by a latch on the right side of the camera
Film loading: special easy quick loading system
Body: metal
Tripod socket: 1/4''
serial no. LW 6837 BC
The Silette series' rangefinder models were called Super Silette. There was also an interchangeable lens rangefinder model called the Ambi Silette.
El sensor que está en segundo plano es inductivo y detecta cuando el piñón de ataque del prelanzador está en reposo (LED verde) y cuando está accionado (LED rojo). Este único LED está encima del panel de instrumentos al lado del cuenta revoluciones del rotor y se ilumina en verde o rojo según el sensor detecta o no el piñón de ataque. Es un elemento que nos indica que una vez prelanzado, el piñón a descendido completamente y se puede iniciar el despegue al pasar de color rojo a color verde.
Join/like my facebook page! www.facebook.com/45surfHerosJourneyMythology
Follow me on facebook! facebook.com/elliot.mcgucken
Beautiful Hero's Journey Mythology Swimsuit Bikini Model Goddesses! Pretty, pretty, girls!
Check out my greatest hits compilation, and let me know what you think:
www.elliotmcguckenphotography.com/
As the Great Mick Jagger satted, "Pretty, pretty, pretty, pretty, girl
Pretty, pretty
Such a pretty, pretty, pretty girl." -Beast of Burden Sexy, hot, and cute too!
Epic Goddess Straight Out of Hero's Journey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's journey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Journey Mythology. I wouldn't be saying it if it hadn't happened to me.
New 500px!
500px.com/herosjourneymythology
New instagram! instagram.com/45surf
Pretty Swimsuit Bikini Model Goddess! :)
Nikon D300 Photos of Beautfiul Sexy Hot Brunette!
She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
ALL THE BEST on your Epic Hero's Journey from Johnny Ranger McCoy!
Modeling the new "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
With the Johnny Ranger McCoy Celtic Cross on the back of the bikini! All the best on your epic hero's journey from JR MCCOY!
Beautiful Tall, Tan, Fit, Toned Brunette Body Builder Hero's Journey Mythology Swimsuit Bikini Model Goddess! Amazing muscular abs & toned body & muscles!
Agfa Optima Sensor compact 35mm camera
Specifications:-
Type: 35mm compact camera
Size: 104 mm x 68 mm x 54 mm (W x H x D)
Image Format: 24 x 36 mm (W x H)
Lens: Agfa Solitar, 40 mm f/2.8
Diaphragm: Automatic f/2.8 to f/22
Focusing: Manual scale pictograms on top of the focus ring/ meter/feet scale on bottom, focusing 3ft/1.09m - infinity
Shutter Speeds: 1/500 second - 15 seconds
Viewfinder: Large direct finder with parallax marks for near focus
Film Loading: Manual
Film Transport: Manual single stroke lever, also used to rewind film when the 'R' button is depressed and turned
Film Speeds: 25 ASA/15 DIN to 500 ASA/28 DIN, selected on a ring around the lens
Flash Contact: Hot shoe, aperture selected manually with flash
Cable Release Socket: On left hand side of the camera body
Tripod Socket: 1/4 in. on right hand side which doubles as camera strap attachment
Battery: 3 V625U batteries, located by opening the camera back
One of my Fuji X-Pro1 bodies is broken. It will power up, take a few shots, and then shut down. When I try to turn it on, it sometimes gives a message that says to turn the camera off and try turning it on again. I have also noticed a large, diffuse, white defect in the upper right quadrant of the sensor.
I later concluded that I had damaged my sensor while shooting a solar eclipse. Rather than repairing the camera, I decided to replace it with a Fuji X-Pro2.
Nikon D800E Photos of Tall Thin Swimsuit Bikini Model Goddess! From Italy! Very pretty brunette with green eyes! Wearing a Red, White, and Blue American flag Gold 45 Revolver Bikini! She had amazing abs! Sculpted, toned, defined and ripped!
Here're some videos of the epic goddess from Italy:
www.youtube.com/watch?v=txvupr5xOZ4
www.youtube.com/watch?v=BGSVw9jbAR0
www.youtube.com/watch?v=qgEUYUQm9Dw
www.youtube.com/watch?v=w2YUfi-Dbd0
A gorgeous goddess for all my flickr fans! She's from Germany. :) Many, many more to come! We shot all afternoon under a cloudy hazy sky which diffused the rays of the Sun God Helios. :)
Nikon D800 Photos of Brunette Swimsuit Bikini Goddess with Pretty Green Eyes shot with the new Nikon D800 and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens!
Videos coming soon!
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)
All the Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Modeling the Gold 45 Revolver(TM) Gold'N'Virtue(TM) Bikini Red, White, an Blue American flag bikini!
May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey! Best wishes from Johnny Ranger McCoy!
Scintillating glass optical fibers are the first viable medium for large-area, solid-state, thermal neutron sensors that have applications in national security, medicine, and materials research. Here, ultraviolet-induced fluorescence mimics scintillation.
For more information, visit www.pnl.gov/news/
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.
Part of my Serious Pictures from a Small Camera series. Just trying out a new coat pocket camera - This is a view of Cat Craig off of Skyreburn
Some Background:
The Space Defense Robot-04-Mk. XIV Destroid Nimrod was an anti-air/heavy artillery mecha, and intended as a replacement for the SDR-04-Mk. XII Phalanx, a Destroid specifically designed for space operations to defend the SDF-1 Macross, along with its sister unit, the cannon-armed ADR-04-Mk. X Destroid Defender.
The Phalanx had been developed in a hurry under the pressure of the raging war against the Zentraedi and suffered, as a consequence, from several disadvantages. For instance, its combat operation capability decreased substantially once the missile ordnance (a total of forty-four 430mm caliber missiles, half of them ready to fire and the rest held in reserve in internal magazines) had been exhausted. To counter this, a few models were modified in the field, e.g. with additional light Gatling guns mounted within the head unit, as well as other variations, but most Phalanx’ remained basically bipedal heavy missile launchers. A sub-variant with improved sensors and missile guidance systems, as well as the ability to deploy the new reflex missiles, the Phalanx Mk. XIII, was also built, but only in small numbers, and it could not overcome the flaws of the original design.
The Nimrod was the attempt to mend these shortcomings after initial combat experience with the type. The so-called SDR-04-Mk. XIV utilized the proven MBR-04 ambulatory system and shared a common hip and leg structure with a wide range of other Destroids. Like the Phalanx, the Nimrod’s newly designed upper body was a simple core structure that neglected any silliness for a weapon composition consisting of missiles, radar, and propulsion system, all mounted on the main rotating body which could be detached from the lower torso for maintenance of in case of emergency.
The Nimrod filled the same tactical niche as the Phalanx but was a more sophisticated design with improved capabilities and a – though limited – secondary close-range combat capability. The radar and sensor suites for target acquisition as well as missile guidance were improved, so that the Nimrod became even suited for air space surveillance and as a guidance/coordination unit for other Destroids. Due to this additional workload, the Nimrod’s crew was expanded by a WSO to two in a tandem cockpit.
The armament remained tailored to medium and long range, but there were some improvements. On the Nimrod, the Phalanx’ bulbous drum-shaped missile magazines gave way to more streamlined 540 mm caliber reflex missile containers, which were carried in staggered clusters of four twin-pods on each shoulder, holding a total of 48 missiles with sixteen of them ready to fire and the rest in reserve. This modification reduced weight and frontal area, and in a case of emergency the missile containers could be jettisoned.
In order to improve the Nimrod’s tactical value after its missiles had been deployed, it was furthermore provided with a secondary close-range combat capability in the form of a pair of particle beam guns. These were integrated into the arms, protected by the missile containers, and these reliable weapons could be effectively used against both air as well as ground targets. Thermal smoke dischargers completed the Nimrod’s defensive measures.
Like the Phalanx and other Destroids, the Nimrod was capable of limited space operations due to its vernier thrusters all over the hull. This allowed for units that were stationed on the deck of the SDF-1 to propel themselves back to the battle fortress if they were knocked off.
The Nimrod was, like the Phalanx, first deployed on the SDF-1 and was used to augment the ship's own weapon system to protect the vessel from Zentraedi attacks, even though the type came relatively late and was only used in the final phase of the war and only in limited numbers. After the conflict, production was throttled down (only a total of fifty SDR-04-Mk. XIVs were eventually built), and the surviving Nimrods from the SDF-1 were stationed at airbases in New Macross City and in nearby cities, such as Monument City.
Specifications:
Designation: SDR-04-Mk XIV
Mecha Class: Destroid
Crew: 2 (Pilot, WSO)
Weight: 21.8 tons (dry)
45.5 tons (loaded)
Height: 12.36 m (hull only, incl. radome)
13,50 m (with raised arms)
Breadth: 9,32 m
Depth: 5.0m
Max. walking speed: 72 kph loaded
Armament:
2x weapon clusters in shoulder locations, each with:
- Eight launch tubes for 540mm caliber mid-/long-range missiles (typically with anti-air capacity, artillery
rockets as alternative), with eight missiles ready and another sixteen as reserve (for a total of 48)
- One Mauler PBG-06 liquid-cooled electrically-charged twin particle beam gun
- Three thermal smoke dischargers
The kit and its assembly:
This is a fictional Macross Destroid, with a highly modified Imai Phalanx kit at its core. It depicts a potential successor for the missile-only-armed Phalanx, but it has been totally made up. Inspiration came when I recently procured a bunch of Kotobukiya’s MSG sets for mecha conversions – one of these sets included the quadruple missile launchers that now make up the Nimrod’s new “arms”. I was torn between using a Defender or a Phalanx as conversion basis, but due to the weapon pods’ bulkiness I went for the more massive Phalanx.
Beyond the MSG parts and the replacement of the Phalanx “missile drums”, there was initially no real plan for the conversion – things evolved gradually, depending on the donor parts at hand. However, several fundamental changes were made. The most important improvement measure that works for all Destroid kits with the “04” chassis is the integration of a completely now hip joint arrangement. OOB, the model's posture is pretty stiff, with the legs and feet facing straight forward. The model is just supposed to stand upright, and with the model’s OOB joint options it is really hard to create a vivid poise. Furthermore, the bolts that hold the legs are prone to break off, even more so because the Imai kit is from the 1st generation of mecha kits, without vinyl caps and just relying on a very tight joint fit for hold.
My proven solution: the implantation of a new hip “bone” made from plastic-coated steel wire, which is stiff in itself but can be bent in two dimensions. The thighs had to be modified accordingly, since the wire is much thinner than the original bolts. Inside of the pelvis, the W-shaped wire was attached with the help of sprue material and styrene profiles, a thorough fixation is necessary because a lot of load has to be held in place in a very small space.
In order to attach the legs to the wire, there’s a convenient trick: the receptor holes in the thighs were simply filled with small vinyl rings, standard material from other mecha kits (e.g. from Arii’s 1:100 VF-1 Battroids or the Gunze Sangyo/Aoshima Dorvack PAs), the rings’ outer AND inner diameter fit perfectly into the new arrangement. With this trick, a much more dynamic and "natural" leg position could be achieved, also thanks to the large feet and their joints of the “04” Destroid chassis. This tuning measure improves the model considerably. The legs were otherwise taken OOB, just some small styrene bits were added to the lower legs’ front sides (improving another small detail flaw of the model), and some openings on the lower legs’ rear side were filled with putty and styrene sheet. Furthermore, the open insides of the “heels” were filled with putty, too.
In order to integrate the new missile bins, suitable adapters for the shoulder had to be found. Being somewhat lazy and trying to use as many parts from the Phalanx kit as possible, I decided to integrate a styrene tube all through the upper body, so that I got better attachment points. This tube was extended so far that I could re-use the Phalanx’ blast exhausts from the original missile bins as shoulder joint covers. This looks very natural and these re-dedicated parts fit well over the implanted central styrene tube channel as well as into the channel that runs along the MSG missile containers’ inner side. In order to attach the new arms/containers, a smaller diameter styrene tube was glued into these channels, so that the new pods could be moved vertically.
As a weapon improvement over the Phalanx, a pair of particle beam guns was added to the new missile containers – they come originally from a Dorvack PA-36K “Berlon” kit, but they were tailored considerably in order to fit into their new position. They also help to hide the new shoulder joint, which was covered from above with parts from the Phalanx kit (the boxed that are normally attached to the upper legs) and the space between them with paper tissue, drenched with white glue. The result is a good visual transition.
The central hull was changed in order to move the look away from the Phalanx base. The rear side uses OOB parts, but these were modified and attached to the hull in a different way, so that the back is not as deep as on the Phalanx. The front received a vertical pair of searchlights (formerly return rollers from a 1:35 tank…), set into the breast plate. The cockpit bulge between the shoulders as well as the head unit are completely new. The cockpit cover is a leftover hull piece from a Kotobukiya helicopter drone, and it was moved forward, so that a crew of two is more plausible. The head unit on the elongated spine behind and above it consists primarily of a donor from a wrecked VT-61 “Tulcas” mecha (Dorvack), plus a small dish antenna for a tracking radar on the right (left over from a Dorvack PA-36K “Berlon” kit) and a round radome for target acquisition – scratched from main wheels of a Matchbox PB2Y and set upon a mount made from styrene profiles. Looks strange, esp. with that flat, square head unit underneath, but I wanted a unique and different look that sets the Nimrod apart from other canonical Destroid designs. And this certainly worked.
A final word concerning the Phalanx kit itself: like all other Destroids models, this is basically a simple affair and the model goes together well – but expect some PSR on every seam, and there are some improvements possible that IMHO raise the model’s quality. The lack of vinyl caps makes later movement a tricky affair, though, and it is interesting to see that while the “04” chassis Destroids (Phalanx, Tomahawk and Defender) share the same lower body, all three kits are different! As a positive trait concerning the finish, the Phalanx is also the only kit of this trio that comes with decals for the typical white trim on the lower legs of these Destroids.
Painting and markings:
Once more I wanted to stay true to the original look of a typical Macross Destroid from the “04” series. These tend to carry a uniform livery in murky/dull tones of green, brown and ochre: unpretentious "mud movers". Anything else is rare (I am aware of dark blue Phalanx’ on board of the SDF-1), and complex camouflage patterns are AFAIK not seen (probably a tribute to the TV series’ cel production). In consequence, I gave the Nimrod an overall livery in a rather unidentifiable brownish tone, namely RAL 7008 (Khakigrau), a tone that was carried by German WWII Afrikakorps tanks and very similar to the tone IDF vehicles like the Merkava typically carry nowadays. Since I only had this tone in a rattle can available, the model and its components were painted accordingly, with an additional hushed spray over the upper surfaces with a slightly lighter tone as a shading measure. After this basic painting, the parts received a washing with thinned black ink.
Decals mostly come from the OOB sheet, plus some extra stencils, including the "nose art" painted on the left leg (from a P-38); many Destroids and also Armored Valkyries seem to bear such markings. Gives the mecha a personal touch, though.
Finally, before everything was assembled, the kit received a dry-brushing treatment with light grey and an overall coat with matt acrylic varnish. As a final step, mineral pigments were dusted over the model, esp. around the feet and the lower areas of the mecha.
A rather straightforward conversion project that gradually evolved – but with a postive outcome, after some twists and turns. The fictional Destroid Nimrod turned out more believable than expected, thanks to the good donor parts that went into it, and the simple livery also adds to the design’s “realism” within the Macross universe. Even though the thing still looks odd – but not worse than the other canonical Destroids from the original TV series!